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INTERVIEW OF
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| Q. You are the author of the book titled "The Art of Playing the Bayan" published by Musika in Moscow and German translation by Intermusik in Germany. What motivated you to write this book? What were the aims of the book? |
| A. After I began
teaching, I began keeping notes of what the I was constantly teaching
my students. I knew there were a lot of history books, and beginners books,
but knew there was nothing for the advanced student. I kept making notes
of things that came to mind even while traveling on the plane for example.
If I thought of an idea, I wrote it up. I separated my notes into four
subjects which included (1) Tonality, (2) Technique, (3) Artistry and
(4) Stage Presence. I wrote this book about the end of the 1981, when I was 33. The book was finally published in 1985. I have now written a new book which will be published quite soon. My new book is called "The Art of Transcribing for the Bayan." |
| Q. You have written a number of other articles. Are they available to the public and if so, how can our readers obtain them? |
| A. I have written
many articles, and they are published in Russian. They are a collection
of articles called 'Bayan and Bayanists.' It is possible that in the future
these articles will be translated and published in English. I also the wrote a large article on Zolotariew. My original article was censored by some people like Tschaikin, however it is also possible, that I will now publish my original article. |
| Q. How many performances do you estimate to have made during your career? |
| A. I have performed approximately 2,000 during 30 years. Last year I celebrated my 50 birthday, and also 30 years of artistic activities. |
| Q . List some of your most interesting and important performances. |
| A. I have performed
more than 50 world premieres and some of the most important are: 3rd Sonata by Zolotariew 2nd Concerto by Zolotariew. Gubaidulina - De Profundis Gubaidulina - 7 Last Words of Christ Gubaidulina - Et Exspecto Denisov - From Darkness to Light I have performed at the: Tschaikowsky Conservatory (Moscow) Concertgebouw (Amsterdam) Santory Hall (Tokyo) Lincoln Center (New York) J.F. Kennedy Center (Washington DC) |
| Q. Describe your most "unusual" or "humorous" performance situation? |
| A. I remember one of my performances in the North of Russia. My concert had progressed quite well, with a very enthusiastic and warm audience. During one of my pieces, I noticed a dog sitting in the auditorium, that started moving toward the door to go outside. The door was closed, so the dog started looking for another way to get out. The concert manager saw this, and went to try and catch the dog to put him out, however the dog started to run away. Much to my surprise, as I continued to play, the concert manager started to run around the concert hall trying to catch it!! |
| Q. When did you record your first LP, CD or cassette? |
| A. My first recording was an LP in 1971. Although it was only about the size of a 45, it was still a 33 rpm record. |
| Q. Where can readers purchase your recordings? |
| A. The best way for readers to purchase my recordings is to visit my web site, where you can look at the titles available, and even listen to samples. I also sell my recordings at my concerts. |
| Q. In 1991, your CD "Seven Words" was awarded the "Golden Diapason" in Paris. How did you come to record this particular composer? |
| A. This was a special project at the request of the Russian Music Label 'Melodia.' |
| Q. I like the music of Sofia Gubaidulina, especially "7 Words", Silenzio and her two solo accordion works, "De Profundis" and "Et Expecto". Does Professor Lips have any plans for commissioning more works for accordion by Gubaidulina? Question by Rocco A. Jerry |
| A. Gubaidulina has told me she will write a Concerto for Bayan and orchestra, however she is quite busy, and so it may take some time to get this project underway. |
| Q. Gubaidulina has written several educational pieces for piano students. Do you think she could be encouraged to do the same for the accordion? Question by Rocco A. Jerry |
| A.. No. Gubaidulina is so busy, working with extremely big commissions for her other work, that this is not possible. |
| Q. You have often recorded with other instrumentalists. Which non accordion instrument/s did you feel most effectively complimented the timbre of the accordion? |
|
A. I particularly
like the Cello and accordion, as found in Gubaidulina's 1982 work the
'7 Last words of Christ.' |
| Q. What is your favorite, of all the CD recordings you have made and why? |
| A. I have some favorites on every recording, however one of my personal favorites is: Le Coucou, by Daquin. There are many accordion recordings today, and it is not always possible to tell who playing. However, I think there are a few pieces, that are distinctly my style. If someone hears this, they can say 'this is Lips." These include: Le Coucou - Daquin, La Poule - Rameau, 3rd Sonata - Zolotariew |
| Q. Do you know which of your CD's has achieved the most sales? |
| A. It is very hard to judge, as some recordings had been in circulation for a lot longer than others, however the CD's that people ask for quite often are 'Russian and Trepak' and 'Encore.' |
| Q. As a result of your travels, have you met many inspiring artists? |
| A. I have met many people in
this category, and some that come to mind include: Stefan Hussong (Germany) Mika Väyrynen (Finland) Peter Soave (USA) Inigo Aizpiolea (Spain) Yuri Shishkin (Russia) Sergei Voitenko (Russia) Alexander Sebastian (Russia) In my opinion, the accordionist that contributed most to the accordion movement, is Mogens Ellegaard. |
| Q. What other interests and hobbies besides music do you have? |
| A. I like very
much spending time at my summer house outside of Moscow. I enjoy the sauna,
and the nice fresh air. I exercise regularly each morning, and enjoy watching the news on TV at night. My family always wants to watch films, while I like to watch the news. We have come to a solution by having a second TV in kitchen! (Herbert Scheibenreif said that Friedrich also gets plenty of practice on the telephone which apparently rings all day long. Recently Friedrich was trying to get ready to leave for the airport, when the phone rang again. Without missing a beat, his wife held the phone in place so that Friedrich could talk and finish brushing his teeth at the same time!) |
| Q. How does an accordionist make a living in Russia at the present time? |
| A. Most income is generated from concertizing and teaching abroad. Teaching in Russia, generates very little money. |
| Q. In 1994, you were honored as a "Peoples Artist" of Russia. Can you tell us more about this award and its importance? |
| A. Boris Yeltsin (President of Russia) presented this prestigious award to me at the Kremlin, and it was broadcast on national TV. It is the greatest title in Russia! Rostropovich also has received this award. |
| Q. What do you regard as your greatest achievement? What musical achievements are you most proud of? |
|
A. I have given fifty premiere
performances, and some of these works will eventually become part of
the standard accordion repertoire. These new compositions are really
good music from the highest level composers, and therefore very significant.
|
| W. Zolotariew: | Sonata No. 2 | (Moscow, 1971) |
| W. Zolotariew: | Sonata No. 3 | (Moscow, 1972) |
| A. Schurbin: | Fantasy and Fugue | (Moscow, 1975) |
| A. Schurbin: | Toccata | (Moscow, 1975) |
| W. Zolotariew: | Children's Suite Nr 4 and Nr 6 | (Moscow, 1976) |
| W. Zolotariew: | Monastery of Ferapont | (Moscow, 1976) |
| W. Zolotariew: | Children's Suite Nr 5 | (Moscow 1978) |
| W. Zolotariew: | Concerto for Bayan and Symphony Orchestra | (Moscow 1978) |
| K. Wolkow: | Sonata No. 1 | (Moscow, 1977) |
| K. Wolkow: | Sonata No. 2 | (Moscow, 1980) |
| S. Gubaidulina: | De Profundis | (Moscow 1980) |
| A. Schurbin: | Sonata No. 2 | (Moscow, 1982) |
| P. Londonow: | Scherzo-Toccata | (Moscow, 1982) |
| S. Gubaidulina: | Partita for Bayan, Violoncello and Chamber orchestra, | (Moscow, 1982) |
| S. Gubaidulina: | "Seven Words" (F. Lips and W. Toncha - Cello,) | (Moscow, 1982) |
| A. Schurbin: | Sonata No. 3 | (Moscow, 1984) |
| S. Gubaidulina: | Sonata "ET EXSPECTO" | (Moscow, 1987) |
| E. Derbenko: | Toccata | (Moscow, 1987) |
| E. Denisov: | 'Fantasy on Soviet Songs' from the 30ies "The steamer passes the harbour" for Bayan, Piano and Percussion | (Moscow, 1987) |
| E. Derbenko: | Prelude and Toccata | (Karstula, Finland, 1989) |
| W. Beljajew: | Sonata No. 1 | (Sotschi, 1990) |
| S. Berinskij: | 'IL DOLCE DOLORE' for Bayan and Cello | (Moscow, 1991) |
| A. Rosenblatt: | Waltz and Blues for "Two" | (Moscow, 1991) |
| W. Zolotariew: | Concerto No. 2 for Bayan and Symphony Orchestra, I. Gromow, director | (Moscow, 1991) |
| K. Wolkow: | "STICHIRA Ivan the Terrible" Lips and W. Toncha, | (Moscow, 1991) |
| S. Berinskij: | Partita for Bayan "THUS SPOKE ZARATHUSTRA" | (Brüssels, 1989) |
| B. Precz: | Präambel and Toccata | (Amsterdam, 1992) |
| S. Gubaidulina: | "SILENZIO" Five pieces for Bayan, Violin and Cello | (Moscow, 1992) |
| S. Berinskij: | "THREE PIECES " in "mauvais" style for Bayan | (Moscow, 1993) |
| G. Rossini/E. Derbenko: | Tarantella | (Moscow, 1994) |
| S. Berinskij: | "MISERERE" for Soprano, Bayan and Piano, Friedrich Lips - bayan, Swjatoslaw Lips - piano | (Moscow, 1994) |
| W. Kobekin: | "Holiday for Two" for bayan and percussion | (Klingenthal, 1995) |
| B. Tarensken | "Requiem" for Bayan and Violoncello | (Amsterdam, 1995) |
| C. Larin: | Three Pieces for Bayan | (Amsterdam, 1995) |
| S. Berinskij: | Concerto No. 3 for bayan and symphony orchestra "and the sky darkened" (Apocalypse, chapter 6) | (Moscow, 1996) |
| A.Wustin: | "Disappearing" for bayan, cello and chamber orchestra, Lips and W. Toncha | (Moscow, 1996) |
| E. Denissow: | "From the Darkness to the Light" for Bayan | (Moscow, 1996) |
| Schnittke: | Two little pieces for organ (Version for Bayan) | (Amsterdam, 1997) |
| W. Rjabow: | River of Love - Capriccio for Bayan | (Amsterdam, 1997) |
| S. Berinskij: | "Waves of light" for two Bayans, F. Lips and M. Dekkers | (Groningen, 1997) |
| M. Bronner: | Dream garden for bayan and cello, F. Lips and W. Toncha | (Moscow, 1998) |
|
I am also very happy with my CD/s.
I have recorded more than 100 pieces. (Remember that 'Le Coucou' which is
just a few minutes long is counted as one piece, as is 'Pictures at Exhibition'
which takes up an entire recording.) |
| Q. In the future, where do you see the accordion fitting into the overall musical scene? |
| A. Almost every instrument began as a popular instrument (folk) including percussion and strings. Accordion is popular in many countries, and now we are finding a place on the stage with other instruments, but it is very important not to loose the connection with the folk music. Playing all 20th century music is okay at a 20th century music festival, but for general public however, we must mix our program to include contemporary music and also more popular music for general public. |
| Q. What are your more immediate career objectives and where do you see your career progressing? |
| A. I think I have
achieved all I can achieve at an academic level. I have the highest position
available for teaching, so I want to devote my energies to getting all
my commissioned works both published and recorded. I have recorded all but two of Zolotariew's works. I only have to make a professional recording of the two Zolotariew concertos. I have recordings with non-professional orchestras, but I am trying to find funding to record these with a famous orchestra. Also I would like to continue with my 'Anthology' which is now in 9 volumes (1930 to the present). This is a published selection of all of the best original bayan pieces. This is a massive undertaking and I am adding to it continuously. |
| Q. What musical advice do you have for aspiring accordionists? Question by Dennis Van Stratten. |
A. You must have a well balanced
program. You must play with other instruments, and work with new composers.
 In
the beginning I used to ask for compositions from my colleague composers,
however now they approach me! In 1951, the 'Suite for Accordion' by Cholmonov,
was written. Now, Cholmonov after hearing me play, has written a brand
new piece (his second accordion composition), which I will premiere at
the Bayan Festival in Moscow, this December. (See photograph of the manuscript).Using Gubaidulina as an example, Lips knew her before she was famous. After a large festival in Boston in 1988, she skyrocketed to success. Lips found himself part of that success through the music he was playing. The good working relationship that they had already established continues to develop today. My advice to the young artist, is to seek out young composers and inspire them to write for the accordion, enabling the musician and composer to develop and mature together. |
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